What are the main functions and innovations of China's flower-and-bird painting in Ming Dynasty?

This change marks that the flower-and-bird painting school, which is mainly based on ink freehand brushwork, has really entered the aesthetic category of literati painting, and Badashanren and Shi Tao represent the highest achievement of this painting school. Although Shi Tao's flower painting method is also freehand, his emotional appeal is not as bleak and lonely as it was after the national subjugation. He is full of longing and longing for life with rich and handsome pen and ink, fresh and unrestrained talent and naive atmosphere, which is in sharp contrast with the fantasy artistic conception of the Eighth National Congress. Another persistent painter, Shou Ping, created a sketch style that has never been seen since the Song, Yuan and Ming Dynasties. The style is exquisite and beautiful. After Chen Hong, he is another literati painting school with a strong flavor of meticulous painting, with no bones and stains, and got rid of the habit of wealth and depression. It has three characteristics: first, it is called the vivid and extremely realistic appearance of flowers; Second, the color rendering is elegant and exquisite, and third, the brushwork is charming and vigorous, graceful and graceful, which is compared by critics to "a person who looks at the sky from the side." There used to be many literati who were introduced to the Palace Painting Academy, such as Jiang Tingxi and Zou Yigui, who all inherited their mantle and were called "decent sketches" by the world. The palace flowers and birds at the time of Qianlong's reign, in addition to their decent sketches and gaudiness, also have the "combination of Chinese and Western" represented by Lang Shining. The painting system adopts the concept and method of western painting, and uses the tools and materials of Chinese painting to paint. This image is depicted in several photos, but there is nothing in it. Therefore, "although it is not a craftsman, it does not enter the painting." However, in Yangzhou painting circle outside the palace, flower-and-bird painting was in its heyday, which obviously overwhelmed the momentum of landscapes and figures. Zhao, Si Ren, Xu Gu and Wu Changshuo of Shanghai School in the late Qing Dynasty were all called masters, and their common feature was that they attached importance to epigraphy and calligraphy. As the best form of commercialization of Chinese painting, it provides a successful opportunity for the transition from traditional painting to modern painting by depicting rich and fresh colors and auspicious themes. Among them, Hao Han pioneered modern flower-and-bird painting.